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Will Adams: Perhaps it’s because his most recent hits have been features, but Sean Paul increasingly comes off as little more as a hook man. Despite the billing, he doesn’t come off as the lead artist here. Nor does that distinction goes to Becky G, who for some reason has been asked to slip in and out of patois. Turns out it’s David Guetta, whose pounding reggaeton production is a bit more robust than what he usually manages.[4]

Ryo Miyauchi: Becky G brings most of the personality of the track while Sean Paul coasts on autopilot and David Guetta hands his best take on pre-“Lean On” Major Lazer. Sure, Sean Paul’s name still offers a certain level of security to a single as does David Guetta’s, but the success of those two here depend upon the draw of Becky G, not the other way around.[6]

Iain Mew: Post-“Rockabye,” Sean Paul’s been trying to make the same dance pop trick land again. It kind of worked with Dua Lipa, but he seems to have taken less is more too far to heart, not much more here than ad-libs and a holding pattern. Becky G and David Guetta seem to be there to play backup too though, leaving the whole thing a feel of people paused awkwardly in front a door each trying to usher the others through first. [4]

Katherine St Asaph: Guetta shouldn’t rip everything off; his leaden-sledgehammer beats just do not work at reggaeton speed, nor with Sean Paul. Becky G tries, though unfortunately what she’s trying is the chorus to “Black Widow.” [3]

Maxwell Cavaseno: You know, it isn’t the blaring and crass nature of Guetta’s production that’s the most grating element of this record. Nor should one be particularly bothered with the excessive condescension of Becky G’s hook or the sub-Glamma Kid level rent-a-ragga performances that Sean Paul’s turning in. It’s that nobody’s going to notice that this is really a reggaeton song in disguise and that in such a case, maybe don’t send the downfall of dancehall to do a Daddy Yankee’s job. [2]

Edward Okulicz: This is certainly an ugly clanging mess of a song, reggaetón rhythm blended with migraine-inducing beats. You wouldn’t expect subtlety from an artist credit with Sean Paul and David Guetta on it, and you shouldn’t. Its frenetic energy is undeniable, and I like the meshing of Becky G’s chorus with Sean Paul’s seemingly-random insertions. It sure sounds like the party and the hangover playing at the same time.[7]